This article analyses the concept of 'aesthetic emotion' in John Dewey's Art as experience. The analysis shows that Dewey's line of investigation offers valuable insights as to the role of emotion in experience: it shows emotion as an integral part and structuring force, as a cultural and historical category. However, the notion of aesthetic emotion is characterized by a fundamental ambiguity. There is a conflict between a mechanical and an organic understanding of emotion, a confusion of emotion as structure and of emotion as process, of emotion as content and as agency. The central problem may consist of the conception of aesthetic experience as the ideal. While evil and despair are thereby excluded from the art, everyday life is left wanting, as it cannot live up to the ideal.

The article explores Schiller�s concept of schöner Schein or beautiful illusion. Friedrich Schiller (1759-1905), German playwright, poet, philosopher and publisher, takes illusion to be the key concept of art, replacing the Kantian taste, which is rejected for its subjectivism. In Schiller�s aesthetics illusion emerges as an autonomous realm of fancy and imagination. Illusion creates a �free disposition�, that is, a state of mind characterised by freedom from coercion by affective, instrumental, logical and moral demands and freedom to act and reflect. It implies an �infinity filled with content�. Illusion is conceived of as the simultaneous, balanced and integrated action of feeling and thought in which both are transformed. Feelings lose their coercive power, becoming objects of playful exploration, while being symbolically preserved and shielded against an oppressive reality. Concepts may be dismantled and reconstructed. The demands of moral norms and values shift to objects of playful exploration and reflection, while ideals are protected against an indifferent and callous reality. Above all, illusion may be seen as the invention and construction of situations in which desire and duty are reconciled. In Bildung, understood as the transformation and rationalisation of practice, illusion is the dynamic centre.

At the end of the 18th and the beginning of the 19th century representatives of the politically oppressed middle class in a politically-fragmented Germany began to look to education in search for a means of emancipation with the pedagogical concept of Bildung as their central focus. The attractiveness of the concept was also a response to the growing social-economic complexity and differentiation and social disintegration. This paper considers the project of Friedrich Schiller around the idea of Bildung. His thoughts challenge present tendencies of restorative traditionalism and technocratic economism. He argues for the cultivation of the 'useless' imagination and of illusion as the necessary precondition and basis of freedom, morality and knowledge. He criticizes reason without irrationalism, advocates sensuousness without the idealization of brute force, and argues for playfulness in teaching and learning without aesthetization

The article explores Schiller�s concept of schöner Schein or beautiful illusion. Friedrich Schiller (1759-1905), German playwright, poet, philosopher and publisher, takes illusion to be the key concept of art, replacing the Kantian taste, which is rejected for its subjectivism. In Schiller�s aesthetics illusion emerges as an autonomous realm of fancy and imagination. Illusion creates a �free disposition�, that is, a state of mind characterised by freedom from coercion by affective, instrumental, logical and moral demands and freedom to act and reflect. It implies an �infinity filled with content�. Illusion is conceived of as the simultaneous, balanced and integrated action of feeling and thought in which both are transformed. Feelings lose their coercive power, becoming objects of playful exploration, while being symbolically preserved and shielded against an oppressive reality. Concepts may be dismantled and reconstructed. The demands of moral norms and values shift to objects of playful exploration and reflection, while ideals are protected against an indifferent and callous reality. Above all, illusion may be seen as the invention and construction of situations in which desire and duty are reconciled. In Bildung, understood as the transformation and rationalisation of practice, illusion is the dynamic centre.

The article explores how fairy tales address various socio-emotional challenges with which children are confronted during the course of their socialisation. A structural theory of fairy tales is presented and then applied to the analyses of three literary versions of the Cinderella-Cycle; those of Giambattista Basile, Charles Perrault and the Grimm Brothers. The analysis shows that while Basile addresses the child's problematic development from a receiver of care to a giver, Perrault is concerned with the psychological foundation of haughtiness versus generosity, and Grimm with the child's grief over the loss of the mother. The results are discussed from a pedagogical perspective. It is argued that the combination of simplicity of form and complexity of content makes the fairy tale a powerful tool for perception of and reflection on emotions. The former renders openness to the text and a feeling of control to the child, thus allowing the child to relate to his or her own experiences. The latter offers ubstantial contributions to reflection on emotions. This is shown on different levels of meaning, the artistic, the mythical and the ludic, each having specific cognitive and emotional functions.

The main object of analysis in this paper is Friedrich Schiller's essay "On the necessary limits in the use of beautiful forms", finished in 1794. It may be considered a key text in the sense that it highlights some dangers intrinsic to the concept of Bildung, dangers, which the concept actually fell pray to. There appear aspects, which in Schiller's other texts are, although present, only alluded at and therefore easily overlooked. The purpose of the paper is to contribute to a reconstruction of the concept of Bildung.

Hohr, Hansjörg (2002). Reality and Ideal Reconciled � On the concept of �beautiful illusion� by Friedrich Schiller, and its implications for Bildung.
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There are at least four aspects that make the concept of "beautiful illusion" interesting for education theory. Firstly, Schiller claims that illusion is the integrating medium of the personality and, therefore, the moral basis in a broad sense. In this respect illusion provides the experience of purpose and meaning in life. Secondly, Schiller argues that illusion is the foundation of the theoretical and moral thought in the life of the society and of the individual. The culture�s and the child�s theoretical and moral thought are initiated in and by illusion. Thirdly, illusion is an experience of the world in its own right, and as such irreducible. This means that illusion is also subjected to certain truth conditions as much as any other mode of experience. Illusion thus becomes the object of criticism. And finally, illusion is a medium of criticism of reality, caretaker of desire and longing, which are discouraged and thwarted by reality. Hence, it constitutes an utopian function.

In the fall of 1999 and 2000, new medical students at the Norwegian University of Science and Technology were asked to complete these questionnaires: (1) Entwistle's Learning Style Inventory - 30 items, (2) Braithwaithe's shortened neuroticism scale - 15 items, and (3) Craig's Locus of Control of Behaviour Scale - 17 items. Additionally, variables included the admission scores and gender of the students. Behaviour in PBL groups were assessed by peers on Holen's Group Process Evaluation Scale once each term for each student. The aim of the study was to study the correlations between these variables and the academic achievements of the students at their first exams by the end of the first year in June 2000 and 2001. Preliminary findings will be presented and briefly discussed